april showers (2018) is a piece for cello and electronic sound.  It includes live cello and processing as well as triggering of pre-recorded cello and synthesizer tracks.  The piece is centered in melodic and motivic elements, but exists in a world of textural and reverberant sounds.  It begins with a simple synthesized harmonic gesture, and then expands into a tonal and textural sound hybrid.  A cello melody is repeated throughout, each time in a new sonic context.  A cello-centric variation of the opening harmonic material closes the piece, resolving the prior tumultuous build up.  This piece is performed using a Max patch that controls playback and live processing through a foot pedal triggering system.  There are ten cues in total that are stepped through in the piece, each triggering some combination of track playback and processing automation.  The processing elements applied to the cello include a random series of filters controlled by a drunk object and a 32-tap delay system.  The amplitude envelope of the cello is also used to control pitch and modulation frequency of synthesized tones.

april showers

standing on the table (2018) is a fixed media piece composed using only sound materials from a music stand and a table.  Many complex gestures and phrases emerged from the two original recordings, especially when heard alongside each other.  As if in conversation, the table and stand weave in and out of each other, cutting each other off and finishing each other’s sentences.  Processing of these sounds revealed sustained, harmonious tones as well as booming, resonant rhythms.  In this piece, I aimed to explore the endless possibilities of my limited material, particularly through the use of space and texture.

standing on the table

BLIP (2018) is a fixed media piece centered around an excerpt of a poem by Isabelle Kenet, “Bachelor Lost In Paradise.”  The poem was written using only words and phrases from “Paradise Lost” by John Milton and the reality TV show “Bachelor in Paradise.”  The sheer difference between the two sources provides a striking vernacular contrast, which I aim to reflect within the piece.  The glitchy, electronically processed recitation of the poem is set alongside the sounds of wind, breath, and whispers.  This creates a hybrid world of natural, unprocessed sounds and electronic sounds.  In this piece, the voice moves broadly between these expansive categories of sound, serving as the glue that melds these sonic environments together.

BLIP

This is a stereo mix of a 2-movement piece that was originally composed for eight channels.

Duet

Solo

February 19

Written in collaboration with the StudiOC Arts in Conflict Resolution members as a part of our devised production "Some Things Cosmic Are These," 2016. 
Song by Marlena Gonzalez; intro and soundscape by Kat Mazur (https://soundcloud.com/katmazur); main motif by Claudia Hinsdale (https://soundcloud.com/claudiathemermaid), Julian Guerrieri, and Piper Hill; additional influence from Jules Crewe-Kluge, Eleda Fernald, Georgie Johnson, Analise LaRiviere, Teddy Ment, Kieran Minor, Rosemary Shin, Holly Handman-Lopez, Tom Lopez

Marly